The Structure of What is Beyond the Words: Musico-Poetic Analysis of the Fragment from "Scenes from a Novel", op. 19 by György Kurtág (original) (raw)
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One mechanism of Russian poetic language
Journal of Applied Linguistics and Lexicography, 2020
Traditionally, the phenomenon of the semantic aura of the verse metre was regarded exclusively as historically determined; the question of a potential synaesthesia (the imitative potential possessed by the rhythmic structure of a poetic text) was essentially disregarded. This paper aims to approach the problem of "metre and meaning" from the perspective of possible actualisation of certain language forms in the metrical structures of binary and ternary metres; in other words, to analyse how the metrical nature of verse determines its basic semantic model. We have come to the conclusion that the fundamental difference between Russian binary and ternary metres lies in the level of rhythmical prominence of metrically dual words, the majority of which are pronouns. The very structure of binary metres suggests a constant possibility for pronouns to be in proximity to an unstressed syllable and to receive more or less heavy stress. In ternary metres pronouns find themselves inside the circle of metrical stresses and, being inevitably adjacent to either the preceding or the following one, lose their accent and are swallowed during pronunciation. The latter, in turn, results in weakening of deictic and anaphoric language functions and undermines the established logic of textual development. That is where different, i. e., poetic, mechanisms of creating meaning come to the fore. Ternary metres put rhythmic stress on notional words, creating-in accordance with the law of poetic analogy and via omission of intermediary elements-linguistically unpredictable associations between them; binary metres emphasise semi-notional and functional words, stressing the logical and grammatical order of text development.
Self-identification of the lyrical subject in Russian poetry (a draft typology)
Enthymema, 2014
The end goal of this paper is to shed light on the changes in the lyrical subject self-identification logics that were characteristic of Russian poetry of the 'modernist' era. We are going to focus our attention exclusively on the poems with a lexically expressed I, which build the nucleus of the poetic fraction of literary texts and allow to get a clear idea about the mechanism of selfnaming that we regard as fundamental for self-identification of the lyrical I. The paper discriminates between the two methods of lyrical subject identification/self-identification: referring and attributing. Based on this, we suggest determining four basic functional incarnations of the lyrical subject in Russian poetry of the 18th-19th centuries, which are in part terminological reconsiderations of the conventional Russian philology categories. These incarnations are: 1) 'anonymous' lyrical I referring directly to the real author; 2) lyrical I referring to the author through the prism of in-text heteronymic or metonymic transcoding; 2) lyrical character (lyrical hero) referring to the author through the prism of metaphoric transcoding; 3) role character (role hero) with zero reference to the author. The revolution that affected the strategies of lyrical selfidentification in Russian poetry of the Silver Age manifested itself in some fundamental shifts. First of all, kaleidoscopic multiplication of lyrical I's, both through the lyrics of specific poets and even within individual poems. Second, blurred boundaries between different incarnations of the lyrical subject that had been more or less clearly contrasted in poetry of the 19th century. Third, theatralization and problematization (to the extent of open conflicts) of the relationship between the author and his/her lyrical 'doubles'.
At present the terms «world model» and «world image» are used synonymously. The author differentiates these terms for the purposes of typological analysis: it is assumed that world model is a kind of general scheme (frame or gestalt) which, being actualized in different cultural and philosophical "codes", forms various world images. Typological analysis should be done at a world-model level since world model allow to see one poetics type through diversity of its cultural and philosophical realizations (while analysis of world images allow us to detected individual "deviations" of the poetics from this general type). Body image and space are the key structures of world model. These concrete concepts encode complex and abstract relations between human and world. They are manifested on semantical and grammatical levels simultaneously and perform the constructive function in texts. The primary conflict «human vs world» is realized in the elementary opposition «body vs confined space» at a semantic level. Two types of interaction between the body and the confined space were revealed: centrifugal and centripetal. These types are grounded in invariant motif «destruction of the boundary between the body and the world». This destruction is carried out in two ways: through the construction of the new utopian space (without boundaries) and the creation of the new «fluid» corporeality related to this space. The disappearance of the boundary between the body and the world semantically marks the neutralization of the boundary between the subject and the object that elicits appearance Anthropos archetype in Lеtov's and Mayakovsky's lyrics. This archetype represents a return to the early ontogenetic stages of psychological development, as a result of which a specific model is formed, where the body and space are identical. This model sets in the poetry of Letov and Mayakovsky a propositional-grammatical structure, which determines some features of the syntagmatic text structure and specific semiotics mechanisms of metaphor. Thus, the blending of the external and internal generates the non-topical subject, that destroys the deictic reference and leads to syntactic incompleteness and agrammatisms. The body's permeable boundary, which appears as a result of this blending, also generates a specific metaphorical frame where space and body are fused together. The suffering body image with permeable boundary, in turn, is associated with the realized metaphor, which, indicating the affect state, shows the expanding emotion that "tears" the body.
Common Aspects of Sergey Yesenins Lyrics and Usman Azims Poetry
International Journal for Research in Applied Science & Engineering Technology (IJRASET), 2022
A comparative analysis of the poems of Sergey Yesenin and Usman Azim shows that the main theme of the poets' work is the dream of seeing the world and man perfectly. In the works of both poets, the longings of the awake soul, the dreams of the deceased person are embodied in their full scope, contradictions, tragedies and joys, sorrows and hopes.
Enthymema X 2014 Self-identification of the lyrical subject in Russian poetry (a draft typology)
The end goal of this paper is to shed light on the changes in the lyrical subject self-identification logics that were characteristic of Russian poetry of the 'modernist' era. We are going to focus our attention exclusively on the poems with a lexically expressed I, which build the nucleus of the poetic fraction of literary texts and allow to get a clear idea about the mechanism of self-naming that we regard as fundamental for self-identification of the lyrical I. The paper discriminates between the two methods of lyrical subject identification/self-identification: referring and attributing. Based on this, we suggest determining four basic functional incarnations of the lyrical subject in Russian poetry of the 18th-19th centuries, which are in part terminological recon-siderations of the conventional Russian philology categories. These incarnations are: 1)
Applications of Compensation Theory in Sergey Yesenin's poems (English version)
Is poetry really translatable? Opinions vary on this subject. Some contemporary researchers argue that poetry is a non-translatable genre, while others come with different solutions to support translation in this field. Some of these methods fall under the theory of compensation, a very controversial theory that allows translators certain freedoms of expression, on the assumption that what cannot be translated precisely into another language, can be translated otherwise or in another context, in order to maintain the stilistical effect intended by the author. In this paper, by applying compensation theory on certain translations of Esenin's poems in three languages (Rumanian, English and German) we intend to establish a few precise methods, usable in translation activity, and also to discuss the limits allowed to the translator, in order not to overstep his boundaries and be characterised by the famous expression "traduttore tradittore"; all illustrates with concrete examples.
Slavic Review, 2019
This paper analyses a poem by Osip Mandelstam, his 1932 “To the German Tongue”, as it explores and reveals the tensions and dangers of Soviet discursivity and subjectivity. Tracing its semantic unfolding shaped by ambiguities, nuances, and subtle transitions, and illuminating its evocations of the long-gone cultural past, I approach the poem as a consistent, if meaningfully opaque, reflection on the Soviet experience. Mandelstam built upon and self-consciously enacted theoretically informed conceptions of the lyric, the poetic subject, and poetic language developed in Formalist scholarship and adopted in some of his own critical writing. I argue that in the poem, as well as in the criticism which framed it, these Formalist concepts revealed an undercurrent of political signification, made even more evident in the reflections on Soviet political and aesthetic experience in the memoirist writing of a Lidiia Ginzburg or a Nadezhda Mandelstam.
Parallelism and Musical Structures in Ingrian and Karelian Oral Poetry
Oral Tradition 31(2): 331–354 , 2018
The focus of this essay is the complex relationship between textual parallelism and performance in historical oral poetry. Since there is no possibility of carrying out any personal ethnographic fieldwork, the main approach to the local categorizations and meanings of singing is to analyze recurrent patterns and combinations of different elements in archival material. This approach relates to discussions about ethnopoetics and textualizing oral poetry. 1 Previously, I have analyzed the local understanding of genres and registers via the analysis of the relationships between poetic texts, melodic structures, singing practices, and performance arenas in archival material relating to one cultural area (Kallio 2013 and 2015). The present essay analyzes relationships between textual parallelism and musical structures in sound recordings from two Finnic singing cultures with related languages and similar poetic forms, but different singing practices. The singers of Ingria and Archangel Karelia had slightly different uses, versions, and interpretations of so-called kalevalaic or Kalevala-metric poems (runo-songs). 2 The singing styles of these poems varied by region, song genre, performance setting, and performer, and these kinds of factors also affected the relationship of textual and musical parallelism. On a general level, the recordings may be divided into four, partly overlapping cases: 1) There is no regular connection between textual parallelism and musical structures. 2) Textual parallelism is highlighted by melodic variation. 3) Patterns of verse repetition are connected to textual parallelism. 4) Textual parallelism and musical structures are mutually coordinated in a way that may even approach regular patterns of two or four verses. The analysis of the relationship of the linguistic (or textual) features and the forms of performance is a task involving both abstract metrics and practical performances. In the case of Kalevala-metric oral poetry, certain forms of performance may affect poetic structures, such as Oral Tradition, 31/2 (2017): 331-354 1 For example, see Hymes (1981); Tedlock (1983) on ethnopoetics; Fine (1984); Honko (1998) on textualization; on epic poetry, see also Foley (1995) and Harvilahti (2003). 2 On the complex connotations of different labels for the Finnic traditions, see Kallio et al. (2017); on the characteristics and differences of Ingrian and Karelian singing, see Siikala (1994 and 2000).